Cookies help Arcadja providing its services: browsing the portal you accept their use.
I cookies aiutano Arcadja a fornire i suoi servizi: navigando nel portale ne accettate l'utilizzo.
Cookies disclosure/Informativa cookies

  • Art Auctions, Ventes aux Encheres Art, Kunstauctionen, Subastas Arte, Leilões de Arte, Аукционы искусства, Aste
  • Research
  • Services
  • Enrollment
    • Enrollment
  • Arcadja
  • Search author
  • Login

Lee Ufan

(1936 ) Wikipedia® : Lee Ufan
UFAN Lee With Winds

Sotheby's /Oct 3, 2016
747,082.89 - 976,954.55
1,249,024.00

Find artworks, auction results, sale prices and pictures of Lee Ufan at auctions worldwide.
Go to the complete price list of works Follow the artist with our email alert

 

Variants on Artist's name :

Lee U-Fan

 

Artworks in Arcadja
426

Some works of Lee Ufan

Extracted between 426 works in the catalog of Arcadja
Lee Ufan - From Point No. 790278

Lee Ufan - From Point No. 790278

Original 1979
Estimate:

Price:

Gross Price
Lot number: 3
Other WORKS AT AUCTION
Description:
Lee Ufan B. 1936, 李禹煥 From Point No. 790278 1979 signed and titled on the reverse mineral pigment and glue on canvas 72.7 x 60.6cm (28 5/8 x 23 7/8in). Provenance Private Collection, Japan (acquired directly from the artist circa 1979) Private Collection, Japan (acquired from the above circa 1985) Acquired from the above by the present owner 從點790278號 礦物顏料、膠水畫布 1979年作 背面簽名:From Point No. 790278 Lee Ufan 來源 日本私人收藏(約1979年直接得自藝術家) 日本私人收藏(約1985年直接購自上述收藏) 現藏家購自上述收藏
Lee Ufan - With Winds

Lee Ufan - With Winds

Original 1990
Estimate:

Price:

Lot number: 435
Other WORKS AT AUCTION
Description:
Lee Ufan (b. 1936) With Winds signed and dated 'L. Ufan 90' (lower right); signed, titled and dated 'With Winds 1990 Lee Ufan' (on the reverse) acrylic on canvas 44 1/4 x 57 1/2 in. (112.3 x 146 cm.) Painted in 1990. Lee Ufan’’’’’’’’s With Winds is one of the last works in a series of evocative abstract paintings the artist began in 1982 and marks the culmination of a ten year investigation into free flowing form. Painted in 1990, the present work exhibits the progression of Ufan’’’’’’’’s conversation with abstraction in comparison to the ever-changing volatility of the wind. Beginning with a light colored off-white canvas, he moves his brush through the pigment, distributing color in expressive streaks across the painting’’’’’’’’s surface. Some appear darker than others as Ufan lets the materials speak for themselves, allowing them to dictate the outcome of his process. The artist has long been intrigued with the concept of infinity and explores the never ending enigma with each stroke. By spreading the pigment from thick to thin, Ufan creates an infinite array of shades and figures within his never-ending composition. As the artist has stated: “One way of showing the idea of infinity in a picture is in the repetition of figures. As with living organisms, it is repetition of birth and death, death and birth, yet it must be sequenced so each movement is unique and separate. The organic device whereby each brushstroke, each figure is independent and mutually related makes a picture full of forces” (quoted in an unpublished Board note presented to Tate Gallery Trustees, July 1997, Tate Artist Catalogue File, Lee Ufan, A21074). Lee Ufan studied philosophy at Nihon University in Tokyo after deciding the subject was essential to his future artistic endeavors. This decision would indeed prove indispensable as his philosophical training would go on to inform the core of his views on abstraction. After finishing his studies and starting to paint full-time, Ufan became a key theorist and establishing member of the Mono-ha, an avant-garde materials-based art movement in Japan during the 1960s, and the first Japanese contemporary art movement to gain international recognition. Here, Ufan pronounces his own voice and notable style. His vision of abstraction was vastly different from those of western artists such as Jackson Pollock and Willem de Kooning. Instead of catalyzing his abstraction through expression and emotion, Ufan and the Mono-ha practitioners focused on perception and the artist’’’’’’’’s relationship with materials.
Lee Ufan - From Line No. 780210

Lee Ufan - From Line No. 780210

Original 1978
Estimate:

Price:

Gross Price
Lot number: 114
Other WORKS AT AUCTION
Description:
Lee Ufan FROM LINE NO. 780210 signed and dated 78; signed and titled on the reverse oil and mineral pigment on canvas 91 by 116 cm. 35 7/8 by 45 3/4 in. Private Collection, Japan (acquired directly from the artist circa 1979) Private Collection, Japan (acquired from the above circa 1985) Acquired from the above by the present owner Catalogue Note One of the world’’’’’’’’s foremost Korean artists and minimalists, Lee Ufan has enraptured the global public with his poetic artistic language. The present work is an exceptional example from one of his best-known series: From Line, produced between 1973 and 1984, which documents his important experimentation on the ephemerality of mineral pigment and laying the foundation for his ground-breaking minimal work for the next four decades to come. In the present work, deep powdery blue emanates from the raw canvas in a cascade of waning pigment. Each mesmerising line contains within it the traces of the artist’’’’’’’’s physical movement at the moment of creation and acts as a visual record of the gradual passing of time as the work was produced. Synchronising each brushstroke with the careful rhythm of his breathing, Lee Ufan formed the From Line works as a physical exercise in meditation, each drawn out line dissipating into nothingness as the artist expels the last of his breath before the process begins again. Extending the ideals of the Mono Ha - or ‘things school’’’’’’’’ sculpture movement - which Lee pioneered in the late 1960s, From Line No. 780210 focusses on the original beauty of materials, reducing each component to its most natural form to affect a compelling organic engagement with the viewer. In creating these works, Lee mixes ground minerals with nikawa animal-skin glue before applying it to unprimed canvas with a round headed brush. Lee gives equal importance to the painted and unpainted areas, reinforcing his focus on materiality as well as alluding to the significance of ‘nothingness’’’’’’’’ in Buddhist philosophy. From Line No. 780210 chimes with aspects of traditional Eastern aesthetics, notably the sentiments of ‘thinking with the brush’’’’’’’’ and the Zen Buddhist teachings of Kitarō Nishida. But as a Korean émigré who arrived in Japan at a time of particular tension and unrest between and within both countries, Lee opted for a harmonic outlook; finding solace in the philosophies of both Eastern and Western teachings. In spite of mounting cultural incompatibility, Lee pioneered a new artistic language through his philosophical approach which spearheaded the Dansaekhwa monochrome painting movement, forming ‘pure experience’’’’’’’’ and showing ‘the world as it is’’’’’’’’. Fig. 1 Morris Louis, Number 1-82, 1961 The Phillips Collection, Washington, D.C. Image: © Bridgeman Images Artwork: © Maryland College Institute of Art (MICA), Rights Administered by ARS, NY and DACS, London, All Rights Reserved 2016
Lee Ufan - With Winds

Lee Ufan - With Winds

Original 1988
Estimate:

Price:

Gross Price
Lot number: 607
Other WORKS AT AUCTION
Description:
Lee Ufan WITH WINDS B. 1936 signed in English and dated 88; signed and titled in English and dated 1988 on the reverse acrylic and mineral pigment on canvas 218 by 291 cm; 85⅞ by 114½ in. Acquired directly from the artist in 1988 through a special commission Exhibited Japan, Kyoto, The Kahitsukan, Kyoto Museum of Contemporary Art, The Contemporary Art 1988, November 1988 The Emancipation of Wind With Winds (Lot 607) is an exhilarating masterpiece specially commissioned during the zenith of Lee Ufan’’’’’’’’s enlivening Winds era in the 1980s. Following a four-year political exile from his country during which he was placed under close surveillance by the Korean Central Intelligence Agency in the late 1970s, Lee moved to Kamakura, Japan and developed a new painting approach that prominently disrupted the strict regimentation of his earlier From Line and From Point series. Abandoning his rigorously clinical serialisations, Lee’’’’’’’’s brushstrokes became free flowing and multi-directional, exhibiting a burgeoning dynamism and dexterous calligraphic touch. Lee titled these new series From Winds (1982-1986) and With Winds (1987-1991), with ‘wind’’’’’’’’ referring to an enlightened acceptance and heightened receptivity of the other. The artist once said: “when I passively accept external winds, an even greater world is opened”.1 Specially commissioned by a distinguished private collection, the painting is the largest from the artist’’’’’’’’s celebrated Winds series ever to appear at auction. The work exudes a stirring, euphoric vitality superlative of works from this period—the only period in Lee’’’’’’’’s career in which each painting is uniquely, reverberatingly distinguishable. Lee wrote in 1989, one year after creating the current lot: “How open the world, how suggestive […]! I want to enlarge and deepen the exchange with the exciting and stimulating outside world instead of soliloquizing and showing obedience to the dictatorship of expression”.2 Such a philosophical and aesthetic emancipation paved the way for Lee’’’’’’’’s subsequent Correspondence series, whose return to austere brushwork displayed ever-heightening internal and external resonance. Lee’’’’’’’’s epochal Winds decade marked an era in which the distinguished artist-cum-philosopher gained indisputable international prominence. Numerous important museum exhibitions featured Lee’’’’’’’’s works, including "Japon des avant-gardes 1910-1970" at the Centre Georges Pompidou in Paris in 1986, which coincided with a display of Lee’’’’’’’’s watercolors and drawings in the museum’’’’’’’’s permanent collection galleries. In 1988, Lee’’’’’’’’s works featured in "Monoha: La scuola delle cose" at the Museo Laboratorio di Arte Contemporanea in Rome, whose catalogue published the first Italian translation of Lee’’’’’’’’s seminal essay “In Search of Encounter”. In the same year Lee held acclaimed solo exhibitions across Japan and Europe; most notably, the catalogue for "Ex Oriente" at Milan’’’’’’’’s Padiglione d’’’’’’’’Arte Contemporanea included a laudatory essay by eminent French critic Pierre Restany. Also in 1988, Lee, whose own scholarly writings are grounded in transnational philosophical inquiries including that of Claude Lévi-Strauss, Michel Foucault, Maurice Merleau-Ponty and Martin Heidegger, etc., published an essay collection entitled "Toki no furue" ("The Trembling of Time"). [1] Lee Ufan, exh. cat., Fondazione Mudima, Milano, 1994, p. 26 [2] Lee Ufan: With Winds – Bilder 1986-88/Paintings 1986-88, exh. cat., Galerie M. Bochum, Germany, 1989, p. 4 Artist Biography Lee Ufan (b. 1936, South Korea) studied Calligraphy, Poetry and Painting at the College of Kyongnam and the University of Seoul. Moving to Japan in 1956, the artist and academic earned a degree in Philosophy in 1961 and swiftly came to prominence in the late 1960s as a founder and leading theorist and artist of the Japanese avant-garde Mono-ha (“School of Things”) group. Lee is also an influential figure of the Dansaekhwa (“Monochrome”) movement in Korea. The artist has been the subject of major shows at the Palace of Versailles (2014); Solomon R. Guggenheim Museum (2011); Royal Museums of Fine Arts of Belgium (2009); the Yokohama Museum of Art (2005); the Musée d’’’’’’’’Art Moderne de Saint-Etienne Métropole (2005); the Samsung Museum of Modern Art, Seoul (2003); Kunstmuseum Bonn (2001); the Galerie Nationale du Jeu de Paume, Paris (1997); and the National Museum of Contemporary Art, Seoul (1994), amongst others. He was awarded the Praemium Imperiale for painting in 2001 and the UNESCO Prize in 2000, and his works are held in the collections of the Museum of Modern Art, New York; the Guggenheim Museum; the Centre Georges Pompidou, Paris and Tate Modern, London, amongst others.
Lee Ufan - Untitled

Lee Ufan - Untitled

Original 1979
Estimate:

Price:

Gross Price
Lot number: 710
Other WORKS AT AUCTION
Description:
Lee Ufan UNTITLED B. 1936 signed in English and dated 79; signed in English and numbered No.79065 on the reverse, framed watercolour on paper 56 by 75.5 cm; 22 by 29¾ in. Provenance Private Collection Shinwa Art Auction, Japan, 21 November 2015, lot 251 Acquired by the present owner from the above sale 710 Lee Ufan signed in English and dated 79; signed in English and numbered No.79065 on the reverse, framed watercolour on paper 56 by 75.5 cm; 22 by 29¾ in.
Arcadja LogoServices
Subscription
Advertising
Sponsored Auctions
Subscription

Arcadja
Our Product
Follow Arcadja on Facebook
Follow Arcadja on Twitter
Follow Arcadja on Google+
Follow Arcadja on Pinterest
Follow Arcadja on Tumblr